“It’s a lot,” DeVille helpfully clarified.
“Glass Beach” and “Dallas” are separated only by a minute or so Stars Of The Lid-style ambient drone. Meanwhile, the shapeshifting seven minutes of “Dallas” could pass for a remix EP where Boards of Canada and Blanck Mass take turns on the same song. Or maybe if the Unicorns wrote a post-rock symphony about a jazz band that goes to war with a synth-pop band.” And even that might have been underselling it - the shapeshifting seven minutes of “Glass Beach” imagines a seapunk reshoot of Through Being Cool.
#Brave little abacus vinyl Pc#
In Stereogum’s Best New Bands Of 2019 feature, Chris DeVille compared it to “peak-eccentricity of Montreal reimagined as peak-audacity fourth-wave emo and then remixed by peak-accessibility PC Music. Glass Beach’s mindblowing first album - appropriately titled The First Glass Beach Album - is quite intentionally designed to make good on J.’s claim.
“‘Oh, here’s a video of a cute puppy,’ and then a mass shooting and, ‘That band sucks.’ The whiplash is something I feel and, intentionally or not, our music and other recent ‘post-internet’ musicians embody.” But ask the infectiously gleeful quartet where they live spiritually, sonically, and socially, it’s all the same answer: “online.” “Us, and people who are online as us, get information about the outside world from our Twitter feed or Facebook and there’s no structure or narrative to it,” frontperson J. For the sake of technical accuracy on their Bandcamp tags, Glass Beach identifies as a Los Angeles “post-emo” group.
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